Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Site Of Sound: Of Architecture And The Ear: Vol 2

edited by Brandon LaBelle, Claudia Martinho – Errant Bodies Press; Pap/Com [book + cd], ISBN: 9780982743904, 304 pages, 2011, English
A historical displacement has radically changed our notions of “local” and “remote” through the embracing of digital networks in our daily life, which are socially – and more so politically – shaping how “we sense where we are”. In this book this displacement is analyzed from the sound artist’s point of view, treated in many different ways through the work of more than twenty artists and theorists using sounds as a dynamic elements which trigger space and architectures to react. Among these are LaBelle’s experiments in “translations” between space and sound (building a replica of a space based only on the sounds of the original space), Nigel Helyer’s combination of sonography and cartography (and other projects centred on the ample theme of locating sounds) and the “evolving” sonic environments of Usman Haque and Robert Davis. There is discussion of the effects of human presence in shaping a space and its architecture, as with the populated ringed walls in van der Heide’s “The Speed of Sound”, alongside the more external approach of Jodi Rose’s vibrating “singing bridges” and the very intimate one of the “Infrasound Series” by Arford and Yau. The immaterial spatiality of sounds meets the very material one of architecture, resonating organic and inorganic structures. Sounds here strategically contribute to define space, hybridizing with it, being either visualized, materialized or at least charted. The heterogeneous nature of the contributions with the attached CD audio constitutes an essential and timely compendium on this topic.